James Yood

  • Gaylen Gerber

    Gaylen Gerber tests the principles of artistic collusion, collaboration, and commingling by occasionally inviting other artists to make their work on top of his own. There is a self-effacing quality to Gerber’s own painting, too: For many years he has been making monochromatic gray paintings, at first with the same, nearly invisible still life barely rendered on it. More recently, in a gesture of generosity, he’s taken to fittting the entire wall of a gallery with his signature slate gray as a support/ backdrop on which other artists may hang their work. This focus on the generic and unassuming

  • Stephanie Brooks

    Stephanie Brooks employs the ability of certain strategies associated with Minimalism to yield surprisingly emotional and intimate results. The title of a work such as Daydream Painting: holding hands on the Pont Neuf (Bedroom) (all works 2004) hints at a lush romanticism and confessional familiarity that seems initially at odds with its pristine abstract aesthetic. The picture’s surface is immaculate, an unperturbed field of light periwinkle blue acrylic on aluminum that reads as cool and aloof. But the dimensions of the painting are exactly those of the window in Brooks’s bedroom, while its

  • Dan Peterman

    Dan Peterman was engaged in the practice of “adaptive reuse” long before the term came into vogue. Distinct from recycling, reprocessing, and rehabbing, adaptive reuse doesn’t run materials through the consumer mill again. Instead, like the artistic practice of working with found objects, it refers to the alteration of things, often the detritus of industrial and/or commercial activity, into something new that reveals their sources while turning them to another use. When Peterman takes the kind of ubiquitous supermarket shopping cart often appropriated by homeless people and efficiently turns

  • Jenny Perlin

    The raspy clackety-clack of 16 mm cine projectors is already a poignant and wistful sound, and this exhibition of recent films and drawings by Jenny Perlin included four such projectors running nonstop. One of them showed Washing, 2002, a grainy, ten-second silent black-and-white loop of the artist washing a window in her Brooklyn studio, the Manhattan skyline visible outside. Poignant and wistful certainly but melancholic and forlorn to boot, the repetitive act of stroking the window through which Manhattan beckons seems an act of obeisance, an acknowledgment of the fractious relationship

  • Kirsten Stoltmann

    A certain fantasy of the American Southwest as barren, inhospitable, timeless, stony, and impassive—Mars with sagebrush—has long held a grip on the American imagination. Kirsten Stoltmann, who lived in the Midwest before her recent relocation to California, assesses and reinforces this mythography with the fascination of an outsider. For her video projection Renegade (all works 2003), Stoltmann literally embedded herself in the denuded landscape, using a hidden armature that suspended her horizontally between, say, two outcroppings or two boulders. In a series of extended, meditative

  • Robyn O'Neil

    In fifteen works on paper, Robyn O’Neil depicts a snowy, isolated, mountainous spot seemingly hospitable only to fir trees and robust bearded men. In this alpinelike setting, O’Neil finds a rich backdrop for life’s starker passages, a place curiously conducive to allegory and ritual, where the passions and fantasies of humankind are enacted against a frigid and impassive Mother Nature. Existence seems sharper in her highlands, which are peopled only by men, often alone, confronting some crossroads from which they may or may not emerge. Allegory of Virtue and Vice (all works 2004) makes direct

  • Ulrike Ottinger

    Travel remains the surest path to the pleasures and politics of defamiliarization. German independent filmmaker Ulrike Ottinger’s Southeast Passage: A Journey to New Blank Spots on the Map of Europe, 2002, is a three-part, six-hour-plus digital video that records aspects of a journey through sections of Poland, Slovakia, Hungary, Romania, Bulgaria, Ukraine, and Turkey. In the context of a contemporary Europe committed to some kind of union from the Atlantic to the Urals, Ottinger’s film is a reminder of regional difference as an antidote to continental hegemony. A kind of nonnarrative post-travelogue,

  • Vincent Dermody

    The gallery that mounted Vincent Dermody’s most recent exhibition is actually a two-car garage. Sharing the space with a headstone and the oblong demarcation of a grave was a 1978 Ford LTD II in a tinny shade of bronze, which the artist had simply parked inside. Titled “You’re Still Under 30” (it opened just before Dermody crossed the threshold), the project functioned as part exorcism, part self-portrait, part arcane Irish wake, and part chastened declaration of independence.

    When Dermody’s father arrived in the United States from Ireland, his name was changed by mistake to Darmody. In 2000,

  • Paul Berger

    In the ’60s and ’70s a generation of photographers appeared, concerned with both the intrinsic nature of the camera and the social nature of the photograph, and began to investigate all aspects of what might be communicated in the act of shuttering a moment. Paul Berger, who lives and works in Seattle, has, since the mid-’70s, been particularly attentive to how images inevitably combine and recombine and to the processes we evolve and employ to “read” what we see. This retrospective began with the black-and-white “Mathematics” series, 1976–77, in which the photographer shot and reshot sections

  • Ben Whitehouse

    Plein-air painting, once a central genre of modern art, has experienced such a precipitous decline in recent decades as to have practically disappeared. In what often seems an openhanded acknowledgment of the accomplishments of his art-historical predecessors, Ben Whitehouse revisits the challenge of constructing images that emerge from a close observation of the natural world. His work seems to offer some muted mirror of benign nature, providing a selection of sylvan and soothing snippets of landscape that evoke the same peace and calm that earlier artists sought and in many ways imposed onto

  • Joe Baldwin

    Painting gets most exciting when an artist relieves it of its historic burden of pretending to be a stable or consistent communicative vehicle. Joe Baldwin’s canvases have a kind of pictorial equanimity and a casual, cursory air that never obscures the sense that they are intelligent and pertinent. Within these ten works he essays realism, pattern painting, hard-edged abstraction, painterly abstraction, rectangular and shaped canvases—declaring a reserved pluralism. His oeuvre takes sustenance from its intrinsic variety, the amiable and slightly seditious “on-the-otherhand- ness” that kicks

  • John Pittman

    The best hard-edged geometric abstraction, especially at small scale, ends up negotiating an almost palpable tension between reduction and expansion. John Pittman narrows his playing field to a very few core elements—a monochromatic ground with a spare array of thinnish lines of a second color gridded across it. There is something nearly puritanical about this parsimony, a condensing so severe that it seems to test the limits of painting. And yet at the heart of Pittman's enterprise is his search for a degree of visual engagement that will reward closer inspection: Which monochromatic